October Painting

I find winter months more reflective, they feel somewhat slower than spring and summer. Winter months being seen as a time of decline and death in the subconscious of peoples of the northern hemisphere, this linked well with the abstract themes of disintegration and phenomena returning to dust at the end of its life span that exist in all the more recent paintings I have made ( 2011-2015 ). Originally I had decided on a horizontal mark through the center of the painting to evoke land and make a connection to landscape painting as this is a painting with the theme of season and seasonal change which we experience through changes in the land and our environment. It was with further reflection on the work that I came to turn the painting 90 degrees and rehang it with the mark at the center of the painting now being vertical. Now it has become more of a crevasse or an opening to a void or unknown realm or entrance to some kind of womb. The particles that cover the surface, fogging our vision to see clearly what is within. Are these particles entering or spewing out of the crevasse? I continue to steer clear of creating recognizable imagery or marks that in some way may create association with familiar phenomena and objects. This is partly to do with the memory of the way winter fog and mist defuses light and masks our vision making objects less defined to the eye ( memory of witnessing this fog and mist as a child in England ). This blurring, masking or clouding is also connected to memory and how we see things in our minds eye. I set out to try and capture an atmosphere of a time of year, an atmosphere and feeling from the perspective of it remembered rather than witnessed at the very moment it was happening. I live in Taiwan, our winters are not like those I experienced in England, and therefore the painting even though made in October is from a memory of October in another country. The painting was made by placing stretched canvas on the floor. A brush is loaded with paint and then tapped gently above the canvas to give a spray effect; the surface becoming made up of small dots and splashes of paint; giving a little surface texture. Layers of paint are applied one at a time; wet-on-wet or wet-on-dry depending on texture and visual effect desired. Each layer is of a differing tonal value. Each painting is made with as limited pallet of hues as possible. Painting is signed dated and titled on rear. The painting is ready to hang.